Preface
"If we need music to be more than itself, maybe it's because we're insecure about music's 'itself'."
Benjamin Boretz "ONE:(ASSEMBLAGE)" from "inside in . . . / . . . outside out" Open Space Publications, 2020
Texts
Streaming
June 6, 2021
Seattle Modern Orchestra
Mikhail Shmidt violin; Jordan Voelker viola; Ha-Yang Kim cello; Abbey Blackwell bass; Jérémy Jolley electric guitar; Cristina Valdés piano; Bonnie Whiting percussion
SARAH HENNIES - Growing Block for 4 to 10 musicians (2019)
MARCOS BALTER - Vision Mantra for violin, viola, and cello (2009)
ANNA THORVALDSDOTTIR Shades of Silence for violin, viola, cello, and piano (2017)
ANAHITA ABBASI Situation VI - Happenings for piano, percussion, violin, viola, cello, and bass (2021) [World Premiere]
persistent as non sequitur
or near so near sequitur
any concert can be a concerto of talk and music
and of their eternal
conflict
we wear black
so that in low light
what skin shows
shines
faced or faceless
me or us
safe in the arms of affectual tribal
coherence
a discretion within discretion
find the meta math
debug states
stepped through
fuss with pages
allowed
underwelt
unterworlds
foiled again
rhythm fable
UW Modern Music Ensemble
Cristina Valdés, director
This Is Fine (2021) - Joe Krycia
for mixed live/digital sextet
Bridget Long, oboe; Constance Aguocha, violin; Mia HyeYeon Kim, piano and digital keyboard; Ryan Carraher, electric guitar; Aaron Michael Butler, double vibraphone
chicken head (2021) - Maxwell Williams
for solo flute and fixed media
Megan Hutchison, flute
flesh claws tripping over feather-drunk Thing (2021) - Jay Rauch
Constance Aguocha, violin; Christine Chu, violin; Madeline Warner, viola; Kevin Leiferman, cello
the viola in my life (1) (1970) - Morton Feldman
Megan Hutchison, flute; Constance Aguocha, violin; Madeline Warner, viola; Kevin Leiferman, cello; Mia HyeYeon Kim, piano; Aaron Michael Butler, percussion
c a s c a d e s (2021) - Darcy Copeland
Constance Aguocha, violin; Christine Chu, violin; Madeline Warner, viola; Kevin Leiferman, cello; Darcy Copeland, live electronics and video
(Seattle) Memory Space (1970) - Alvin Lucier
Megan Hutchison, flute; Bridget Long, oboe; Constance Aguocha, violin; Madeline Warner, viola; Kevin Leiferman, cello; Mia HyeYeon Kim, piano; Aaron Michael Butler, percussion; Jonathan Rodriguez, percussion
1
3 on stage 3 flashing from elsewhere quite the light show oboe on
stage in a bag
2
flute in bag some commenting sounds from elsewhere
3
string quartet scribbly with a still internally consonant stretch in
the middle
4
piano percussion flute 3 strings va vc vn
5
string quartet with video nearly if not without sound for frozen vid
of cold mountain playful planet orb and running snowmelt brook to a more
general thaw
6
8 on stage apparently each of them made a field recording and is
playing their interpretation on their respective instrument
being much older
than any of the local composers here
this concert
made me feel old
but not in a bad way
truly
I may have mentioned before
how anymore
at least locally
among the younger sets
that
an electronic component
within their music
is
the default mode.
This is new in
my lifetime.
June 10, 2021
Songs of Separation: Views of Solitude
Joseph Muriello, tenor; Andrew Romanick, piano
Deux Épigrammes de Clément Marot - Maurice Ravel
Songs of Separation (selections) - William Grant Still
Laments for the Death of a Bullfighter - David Del Tredici
I am Sitting in a Room - Alvin Lucier
I know Joseph from when he was a colleague of mine at my place of employment.
I think this was the first time I had an opportunity to hear him sing.
We were having dinner at the time,
so I didn't take notes,
but I'm sure glad we tuned in,
technical problems and all.
Wayward in Limbo
With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series now moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is curating and commissioning ten Seattle artists each month to create a series of streaming audio sessions of exclusive material. Many of these will be essentially “live” performances recorded at home for this occasion. Others may create a mix of pre-recorded material that has not been previously released elsewhere.
- from the Wayward Music Series website at https://www.waywardmusic.org/.
Robin Holcomb
6.20.21; 8.9.20; Wayward 1; 7.18.19.21; 6.11.20; Free; Ash Trees Also; Hymn; Improvisation 1; Improvisation 2; Improvisation 3; Improvisation 4; Improvisation 5
freely blatant
dissonance or consonance
as needed
to
say
small gathering vibe
for ideal listening
alone
speaking to
one
at most
too many together
and the music
decontextualizes
[question to myself
might some of that effect
be due to the
close-up miking?]
her negotiations
with continuity
demand personal attention
in order to not baffle
but are generous with retracings
it
will find you again
if you
or when you
come to be
found
clearly it is never not music
as a native speaker speaks it
June 6, 2021
Eric Muhs
Atlantic to Pacific
one sound area
at a time
within the ukulele sound's
reverb
a hint
to voices moving
bump bump
listening travels with the listener
all things come to them
or
pass by
chatter roar rail squeal
we can stop for music
here and there
Recorded
June 5, 2021
I Was Praying - Five Blind Boys of Mississippi [from Allen Lowe's Turn Me Loose White Man]
a strong center
never veers
there to catch
always
Santa Claus is Back in Town - Elvis Presley [from Elvis' Christmas Album]
clearly enjoying this one
we wonder
how much beer was involved
Praise To The Lord - Lake Washington Singers, Betty Eisenbrey, Joanne Deacon [April 10, 1962]
let's count to 4
steadily
several times
but he finally gets impatient
with the whole
Das Rheingold
build from the bottom ploy
and pulls out
tune stuff
loves straight lines and clear markings
as a sequence this run of short movements
is more engaging than some of
his symphonies are
a symphonic creche
or multi-paneled altar piece
too bad he rounds it off
with a return to old tune stuff
and stern
Lutheran rectitude
A Bird Flew / I Wish I Had My Heart Again - Lake Washington Singers, Betty Eisenbrey, Joanne Deacon
impressionist
a reading of a poem
June 6, 2021
("...my chart shines high where the blue milks upset...") - Benjamin Boretz - Michael Fowler [from Open Space 18]
playing
as a way of considering
observing
with all due care
listening to these familiar events
in this familiar sequence
I
find myself
grouping them in pairs
and those pairs
in pairs
of pairs
sequential or interlocked
but my groups liquify
as
we move into it
then sinew
on the bones
to that
crossed limn
one side
we were
now we're
on the other
switching sides
but never
of the same pair
Book of Windows (Instrumental {midi}) - Keith Eisenbrey
marimba patch
because that particular patch
to me
was about
its pitch
a sound
that wouldn't wear on one's nerves
over
long terms
brought forward
those aspects of the score's
figurations that made
clear
what was going on
electric guitar patch
and bell
as a contrast
to the color of
sound
and to its decay envelope myth
wilderness kairotic
high math minimalism
fruit of Lucy Church Amiably
cubist minimalism
two strands emerged
in my music work
experimental systematic
and music-compositional lyric
metalyrical exactly
which is
why
the chorale at the end
belongs there
as though finally
seen
from that just so angle
No Surrender - The Outfield [Rescued Record]
using synthesizers
to oversize
your venue sound
anthem time
nice and long
suitable for any end credits
June 7, 2021
Banned Rehearsal 290 - John E, Karen Eisenbrey, Keith Eisenbrey, Aaron Keyt [April 3, 1992]
at Outpost Toad Hall
Department of the Tintinabulary
Lester
Philadelphia
USA
20 pound
sack o spuds
on my
back
piano and clarinet
child play
and chimpanzoid barking
extreme squawk
Improvisation sur le Thème O magnum misterium - Ensemble Organum [from Portrait]
on portativ I think
the intervals
as they stretch out
from
the drone
are solid
acoustic
facts
no mistake
Work / Architecture / Unity / And / The (duet demo) - Keith Eisenbrey
overdubbing the hard way
playing back the piano
into the room
doing percussion live
I wonder if the balance
could be
improved
by overlaying the separate piano track digitally
worth a
shot
just for fun
the spacing is too regular
it grays itself out
percussion sounds are
good though
Artificial Live 2007 for Large Ensemble - George Lewis - Seattle Modern Orchestra, Julia Tai [from Black Lives Matter]
tender delicate
in the home
in domiolect
lovely
Rocks and Glass - Your Mother Should Know [live at Prospect United Church of Christ, Seattle February 4, 2012]
with whistle verse
for guitar solo stand-in
not so sure about the
acoustic power verse
it sounds like a place holder for something else
not born of this arrangement as such
Pastures of Plenty - Woody Guthrie - Michael Harley [from Roll Columbia]
MH doesn't go out of his way
to make it refined
enjoyable guitar
playing on this
June 10, 2021
Alman, Fvb 20 and Galiarda, Fvb 21 - traditional - Claudio Columbo
one suspects a lurking simplicity
behind it all
continuous with
itself
ornateness prodding it out of place
Symphoniae sacrae II "Herzlich lieb hab ich dich, o Herr", Op. 10 #8 - Heinrich Schütz - Capella Augustana
text
enters the world
of its own illustration
pronouncements
and dances
in mutual measure
Aria and Varations in C Major, BuxWV 246 - Dieterich Buxtehude - Simone Stella
figurationally generated
bifurcation of play
upon the melody
they work together differently
in each variation
the line that expresses the tune
and the line that undergirds it
each varied distinctly
from the other's path of variations
Fughetta super Herr Christ, der einig gottes Sohn, BWV 698 - Johann Sebastian Bach - Michael Chapuis
one imagines these were introductions to hymns?
Troizieme Ordre (si mineur) - François Couperin - Rafael Puyana
poke at it
see how it evades
poems of sizes
within metrical
time
it is size
not duration
that functions
In Session at the Tintinabulary
June 7, 2021
Gradus 336 - Neal Kosály-Meyer
we're back to pick this project up
where we left it
over a year
ago
is all good
backing up
just a little bit
4th D down
a note right in the
effective middle
after the G enters
the resident chickadee
picks up in mid-tirade
outside
17 semitones
flattery
with my modular interval
Postscripts
::Consult the Oracle
is rock to behold his glory nature
suffers so much sublime fire does for the
soul no capable conformity as
Reality Check::
der Mond scheint
the time
it was a mailbox
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